I went into 2-MAN NO-SHOW from Zoot Zoot Productions expecting some high energy slapstick comedy from a polished couple of performers. What I did not expect was to hug them both and feel a sort of communion with them and everyone else in the room – those of us daring enough to go up on the stage when invited, at least, which seemed to be more than half of the people in attendance.

As it starts, Ken Hall is dressed like a Mountie and Isaac Kessler is dressed like what seems to be a bear. No real explanation is given for these, but it adds a level of absurd humour to everything that transpires. Continue reading 2-MAN NO-SHOW (Zoot Zoot Productions) 2013 Toronto Fringe Review →

Dear Andrew Wade (Writer, Performer, Tea Sommelier),

I liked The Hatter. Really, I did. Your Fringe tea party, which plays at the Tarragon, hits the right notes: it never takes itself too seriously; it shows a clear mastery of the style and text; and it flatters you as a performer, allowing you to play to your obvious and considerable strengths.

And you had us eating out of the palm of your hand, man. We wanted to love you! We did love you! You’ve crafted a fascinating, frantic, engaging character who can draw our attention by simply being in the space, and you should be very, very proud of that.

But having done this, why do you insist on making him jump through hoops?

Continue reading The Hatter (Spired Productions) 2013 Toronto Fringe Review →

Strolling Player grew from actor Richard Willis’ application for Canadian residency. He had to provide every address he’s had since age 18. Willis is fifty something and 18 is long ago and a lot of addresses away. That planted the seed of the idea for Strolling Player. I love the way mundane activities can inspire creativity.

I’ve said before that I’m a fan of solo autobiographical shows. The odds were good going in that I was going to enjoy the show. I did. Continue reading Strolling Player (Compass Theatre Productions) 2013 Toronto Fringe Review →

I’ve taken an interest in site-specific theatre recently and have chosen to see a few site-specific works at this year’s Toronto Fringe Festival. Big Metal Box is one of the shows that piqued my curiosity. It’s an anthology of four mini plays staged inside a large storage locker.

The four performances that make up Big Metal Box aren’t really related in any way other than the fact that they share a setting. Starting off with a specific location and then writing a series of short plays set in that location feels like the type of play writing exercise you’d undertake in theatre school. Continue reading Big Metal Box (Apocryphal Productions) 2013 Toronto Fringe Review →

I was worried about The Hystericon, which is playing in the Fringe Festival at Theatre Passe Muraille. These themes–madness, the dark history of psychiatry, medical sexism–are so well-trodden that, as a reviewer, I basically roll my eyes when I happen across them. “Oh, look. Another newly-minted theatre-school graduate who thinks they can improve upon Marat/Sade. How adorable.”

I tell you this because the ladies who inhabit The Hystericon blew my mind. They’ve taken a genre positively filled with hoary old tropes and predictable dullness, and they’ve somehow cobbled together a fresh, innovative, interesting and utterly worthwhile play.

Continue reading The Hystericon (Good Old Neon) 2013 Toronto Fringe Review →